- 84: UNPRINTABLEwith J R Carpenter and Benjamin Laird (submit away!) 83: MATHEMATICSwith Fiona Hile (submit away!) 82: LANDwith James Stuart and Jane Gibian(coming soon!) 81: NEW CARIBBEANwith Vladimir Lucien 80: NO THEME VIwith Judith Beveridge 57.1: EKPHRASTICwith C Atherton and P Hetherington 57: CONFESSIONwith Keri Glastonbury 56: EXPLODE with Dan Disney 55.1: DALIT / INDIGENOUSwith M Chakraborty and K MacCarter 55: FUTURE MACHINES with Bella Li 54: NO THEME V with Fiona Wright and Omar Sakr 53.0: THE END with Pam Brown 52.0: TOIL with Carol Jenkins 51.1: UMAMI with Luke Davies and Lifted Brow 51.0: TRANSTASMAN with Bonny Cassidy 50.0: NO THEME IV with John Tranter 49.1: A BRITISH / IRISH with Matthew Hall and Sophie Seita 49.0: OBSOLETE with Tracy Ryan 48.1: CANADA with Kent MacCarter and Shane Rhodes 48.0: CONSTRAINT with Corey Wakeling 47.0: COLLABORATION with Louis Armand and Helen Lambert 46.1: MELBOURNE with Michael Farrell 46.0: NO THEME III with Felicity Plunkett 45.0: SILENCE with Jan Owen 44.0: GONDWANALAND with Derek Motion 43.1: PUMPKIN with Kent MacCarter 43.0: MASQUE with Ann Vickery 42.0: NO THEME II with Gig Ryan 41.1: RATBAGGERY with Duncan Hose 41.0: TRANSPACIFIC with Josephine Rowe and Michael Nardone 40.1: INDONESIA with Kent MacCarter 40.0: INTERLOCUTOR with Libby Hart 39.1: GIBBERBIRD with Sarah Gory 39.0: JACKPOT! with Sam Wagan Watson 38.0: SYDNEY with Astrid Lorange 37.1: NEBRASKA with Sean Whalen 37.0: NO THEME! with Alan Wearne 36.0: ELECTRONICA with Jill Jones
- Review Short: Susan Fealy’s Flute of Milk
- Review Short: Brook Emery’s Have Been and Are
- NEW CARIBBEAN Editorial
- Deconstructing Decolonisation: Victor Questel’s Collected Poems
- She’ll Chew You Up: Notes on Safiya Sinclair’s Cannibal and Tiphanie Yanique’s Wife
- Selections from ‘The Face: a feeling’: 8 Portraits by Kwesi Abbensetts
- Delicious Pick
- How to Exhale
- Tony’s Taxi Service
- After Olive Senior, ‘Flying’
- Messages to Bush Children – Building
- Stormy Night
- Beyond the River Road
- Crystal Chandeliers
- Exorcism / Freeport
- College Degree in Tourism and Service
- Under the Tamarind
- Norene’s Laugh
- “We the Dirt”
- Finishing Your Work
- The Day He Got It
- Poem for a Gunman
- Mama River
As I began this essay on J S Harry’s poem ‘Tunnel Vision’ several years ago (2006) the radio drive shows in Sydney were full of opinions, mainly angry, concerning a report that a male teacher, in an English class, encouraging students to find as many words in ‘Australia’ as they could, had led the way by showing them how it contains the word ‘slut’, and then, when asked what that meant – it must have been a young primary-school class – had told them that it was a word used to describe women.
Glow White and the Three Dwarfs Remaining — Sneezy, Sleazy and Greasy: we were just guys together, once, digging up diamonds, pals — then this whirlwind of womanhood descended on us out of the forest with her perfume, her mystery …
What is more old-fashioned than modernity? New York in the 1960s; Paris in the 1920s; Edwardian England: how entranced we are by the bygone milieu of modernity. John Tranter has long appreciated the poetic potential of the almost-new, almost-old, as seen in his poems on movies, jazz, the New York School, and so on. But as seen in his latest book, Heart Starter, his interest in such things is not merely nostalgic. Rather, his work is obsessed with remixing the magic pudding of modernity. The past, in other words, is there to be used, not revered or sentimentalised. Tranter’s poetic revisionism treats source texts and forms as transitional objects (to use Winnicott’s term) that offer open-ended play and creativity, rather than demand compliance.
John Tranter, Sydney, 2009, photo by Anders Hallengren. Sometimes people become irritated when I am once again asked to compile another collection of poems. Why him? they ask. Why him again? Well, there’s a reason. I am good at it. …
Writer in residence at ANU with Robert Adamson and Nigel Roberts, 1987 | Image © Juno Gemes [Audio clip: view full post to listen]John Tranter and John Forbes, Forbes Street Studios, 1980 (55:00) Recording courtesy of John Tranter
John Tranter, Sydney, 2009, photo by Anders Hallengren. Poetry for Cordite 50: NO THEME IV is guest-edited by John Tranter Zounds! We’ve made it to issue 50 in the year that Cordite Poetry Review turns 18. Bust out the Passion …
Last week, I knew it was time to leave the city. The way the sun glinted off window-panes, a warning arriving on my front lawn with the morning newspaper, and the shape of that funny cloud… and those kids breaking …
Sometimes irritating, often informative, occasionally incisive and sporadically genuinely interrogatory, the thoughtfulness evinced by (many of) the writings collected in Poetry and the Trace triggers further chains of association and dissociation. This is a genuinely critical collection in various senses of that word: at once analytic, hortatory, and urgent.
Alexandria Think of the village baby. A scene of adventure – the dream of Europe. The eyes of marching armies fostered perplexity that marred all its books and intellectuals and opened their minds to the encyclopaedia of algebra and carmine …
Melbourne-based Benjamin Laird writes computer programs and electronic poetry, which he discusses here in the first of a new, occasional blog series looking at the writing practice of contemporary Australian poets.
The bad news first … I am sorry to see the departure of Lisa Gorton as Cordite’s Feature Reviews Editor. Over the past 18 months, her astute eye, impeccable judgement and gracious style has produced – and leaves us with – a superb legacy of robust and engaging feature reviews. Gorton’s work is testament to what can happen with excellent writing from reviewers and an engaged editorial acumen.
hoon |huːn| Austral./NZ informal; noun: a lout or hooligan, especially a young man who drives recklessly. the whole family was wiped out because some drunken hoon had to drive his car. ORIGIN 1930s: of unknown origin. His beard tangled around …